IPS 3519 
.0247 
B3 
1920 
Copy 1 



Ujenison 'sjpecialties 



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THE BATTLE OF 
ROLLIN' BONES 



B: 



Frederick G. Jonnson 

lS. Venison & Company 

Publishers • Chicago 



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Price, 25 Cents 



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DENISON'S ACTING PLAYS 

Partial List of Successful and Popular Plays. Large Catalogue Free. 



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acts, 2V 2 hrs (35c) 8 8 

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2 hrs (35c) 15 

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hrs. (25c) 1 9 

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254 hrs (35c) 6 10 

And Home Came Ted, 3 acts, 

254 hrs (50c) 6 6 

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Assisted by Sadie, 4 acts, 2y 2 

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As a Woman Thinketh, 3 acts, 

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Fun on the Podunk Limited, 

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Gettin' Acquainted, 25 min. 

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Her Honor, the Mayor, 3 acts, 

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M. F. 

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Tony, the Convict, 5 acts, 254 

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Trial of Hearts, 4 acts, 254 hrs. 

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T. S.DENISON&COMPANY, Publishers 154 W. Randolph St., Chicago 



THE 

Battle of Rollin' Bones 

A BURNT CORK BARRAGE 

BY 

FREDERICK G. JOHNSON 

AUTHOR OF 

'Mary's Millions" "At Harmony Junction" "Foiled, by Heck!' 

"Gimme Them Papers!" "Good Morning, Teacher," "It 

Might Happen" "The School of Detecting," 

"Such Ignorance," "The Press 

Agent's Handbook," etc. 




CHICAGO 

T. S. DENISON & COMPANY 

Publishers 



THE BATTLE OF ROLLIN' BONES 

CHARACTERS. 

Henry Hardtack Hogshead A Buck Private 

Rufus Rastus Riggles Another Stag 

Hardboiled Higgins An M. P. 

Colonel Muchmore Mustard Hot Stuff 

Wetweather Watson A Shavetail 

I. Seldom Missem A Sniper 

Flatfoot Finch A Runner 

Dotson Dashes A Signalman 

Place — Somewhere in France. 



Scene — The Burnt Cork Sector. 



Time — Before the War Busted Up. 

Time of Playing — About Thirty Minutes. 

SCENE PLOT. 

WOOD DROP 




STAGE DIRECTIONS. 

R. means right of stage; C, center; R.C., right center; 
L., left; iE., first entrance; U. E., upper entrance; R. 3 E., 
right entrance, up stage, etc. ; up stage, away from foot- 
lights ; down stage, near footlights. The actor is supposed 
to be facing the audience. 



Notice. — Production of this play is free to amateurs, but the sole 
professional rights are reserved by the author, who may be addressed 
in care of the Publishers. 

COPYRIGHT, 1920, BY FRRDERTPK G. JOHNSON. 

©C.0 553 16 






THE BATTLE OF ROLLIN' BONES 



Scene : Wood set, full stage. Set wall, about three feet 
high, diagonally R., up stage. Ladder leans against it. A 
"machine gun nest," simply made by throwing a piece of 
burlap over any crude framework as a screen, stands C. 
It is set so that it will fall flat forward when pushed. Be- 
hind it is a gambling device known as a "paddle-wheel," 
familiar at many fair grounds. It has short projections 
around the rim, each one numbered, and a flexible flapper 
gives a rattling sound when the wheel is whirled. This is 
used for the burlesque "machine gun" effect and for the 
final tableau. Screen should be high enough to mask the 
wheel, and wide enough to mask entire group just before 
the finish. Behind the screen is also a pair of cocoanut 
shells to be used for galloping horse effect. Up L., on the 
bare stage, is a magnesium flash, with connection reaching 
down to point where crap game is played, so that one of 
the players can flash it at the cue. Any photographer will 
explain fully how to set and operate this flash. Set rocks, 
stumps and boxes around stage ad lib. Off stage are bass 
drum, shrill wailing whistle, carriage cushions and paddles, 
revolver with blank cartridges. 

Note: This playlet can be given with excellent effect 
on an ordinary platform, if scenic facilities are not avail- 
able. The zvood setting may be merely suggested by a fezv 
cut branches and potted plants at rear and sides of stage. 
Music and lighting cues may be disregarded and machine 
gun and magnesium flash business may be omitted, if de- 
sired. 

Music : "Tenting Tonight on the Old Camp Ground," 
played in ragtime, to raise the curtain. 

Lights : Half down for rise, increasing fairly rapidly 
to all up. 

As the curtain rises, Rufus is pacing up and down in 

3 



4 THE BATTLE OF ROLLIN' BONES 

front of the wall, with rifle. Distant battle effects with 
paddles and bass drum, off stage. Henry enters running, 
from L. His hat is too small and perches on the top of 
his head. It is attached to a thread, to be pulled off from 
L. at the cue. He wears a slicker and is dripping with 
water. Music stops. 

Henry (to himself). Don't know why they call it "la 
belle Frawnce," unless they call it bell because it's always 
ringin' wet. 

Rufus. Halt ! Who goes there ? 

Henry. Ain't nobody goin'. Ah's comin', an' Ah's 
comin' fast! 

Rufus. Halt, or I'll shoot! 

Henry (putting hand in pocket). All right. Ah'll shoot 
you. How much you got? 

Rufus. Man, don't tantalize me. Ah's on duty. 

Henry; Sure 'nough? What you doin', niggah? (Sits 
on top of wajl.) 

Rufus. Ah's walkin' mah post. 

Henry (gloomily). Ah wish Ah was walkin' the dawg, 
back in Mon'gomery, Alabama. 

Rufus. Git down off'n that wall, niggah ! 

Henry. Wha' fo' is Ah got to git down? Ah don't see 
no dee-fen-doo sign onto it. 

Rufus. If'n you stay on that wall they'll be a crape onto 
it — but you won't see it. That's a parapet. 

Henry. Parapet don't say nothin' to me. (Takes dice 
from pocket and shakes them.) This hyah's the only pair o' 
pets Ah knows about, an' they sho' is restless. 

Rufus. You suttinly is one daredevil doughboy. 

Henry. Yassuh, an' Ah's a gamblin' fool. 

Rufus. Man, yo's gamblin' right now and you don't 
know it. 

Henry (indifferently). Hush yo' fuss! 

Rufus. All right, brothah ! Let yo' conscience be yo' 
guide. 

Henry (shaking the dice). Oh, li'l babies, Ah hyah's 
yo' voice, an' you sho' is talkin' sweet. (Shakes them close 



THE BATTLE OF ROLLIN' BONES 5 

to his ear.) Wha's that you-all tellin' me? Oh, li'l angel 
voices, you said a mouthful. Ah craves action! Ah craves 
action ! 

Gun shot off stage. Henry's hat is pulled off L. by 
thread, appearing to be shot off. Henry jumps down and 
ducks. Enter Higgins,, L. 

Henry. Oh, sweet Phoebe, mah cravin' is completely 
satisfied ! 

Higgins {taking Henry by the arm). Hey, buddy, come 
along with me. 

Henry. Man, who is you? 

Higgins. Nevah mine who Ah is. You comes, an' you 
comes toot-sweet! 

Henry. All right. But when playin' with a strangeh Ah 
prefers to use mah own dice. 

Higgins. You ain't gwine to no crap game, niggah. 
You's gwine to jail ! 

Henry. Hush yo' fuss!' Who say jail to me? 

Higgins (toughly). Ah says it! 

Henry (meekly). Ah hyah's you say it. 

Higgins (pointing to arm-band). You know what that 
means ? 

Henry. Don't know, less'n it mean "Memphis product." 

Higgins (taking hold of him). Come on. The hoozgow 
fo' yours. You is pinched. 

Henry. Wha' fo' is Ah pinched? • 

Higgins. Wherefo' an' because you is A. W. O. L. 

Henry. No compree. 

Higgins (shouting). A.-W.-O.-L. ! 

Henry (slozvfo). A. W. O. L. — Always Was Outa 
Luck! 

Higgins. You-all gwine git ten days in the brig. 

Henry (reaching for dice). Shoot you fo' twenty days 
or nothin'. 

Higgins. Niggah, roll dem bones! (They kneel and 
start a game.) 

Henry (rolling dice). Four an' two. Ah makes it six. 



6 THE BATTLE OF ROLLIN' BONES 

Enter Mustard, L. 

Henry (not seeing him). Kiss yo' coupons farewell. 
(Rolls.) Five, she comes one short. Baby dice, don't you 
know yo' papa? 

Higgins (to Henry, brusquely, after seeing Mustard). 
Hey, buddy, let me see yo' pass ! 

Henry (still not seeing). Niggah, let me see you fade! 

Rufus. 'Tention, you flatfooted ignoramus ! 

Henry (turning angrily). Who's a flatfooted ignora- 
mus? (Sees Mustard and gulps.) Ah is! (Sheepishly and 
pretending innocence.) Good mawnin', gin'ral. 

Mustard (fiercely). Who is you? 

Henry. Henry Hahdtack Hogshead, of Mon'gomery, 
Alabama. 

Higgins (reaching for money). Five francs say she 
won't come ! 

(During ensuing dialog, Higgins and Rufus start a crap 
game down s/age from flesh powder.) 

Mustard. What outfit? 

Henry. This hyah (indicating clothes) is all the outfit 
what Ah got, Admiral. 

Mustard. Whah did you train? 

Henry. In box-cyahs, mostly. Fawty hums or weet 
shovoes. 

Mustard. Is you f amiliah with general orders ? 

Henry. Boss, Ah ain't gettin' familiah with no gin'rals. 
It ain't healthy. 

Mustard. Ah means, does you knozv general orders? 

Henry (scratching his head). No sah, cain't say as Ah 
does. Don't you reckon maybe he's back in the S. O. S.? 

Mustard. Niggah, Ah think I'll slam you into St. Anne's 
brig. 

Henry. Sho' miff? Wha' fo'? 

Mustard (starting off). To run you up fo' a shoot! 

Henry. Shoot? Any tahm, Kunnel — any tahm a-tall. 
But when you comes, bring you' rabbit's foot an' beaucoup 
f rankies, 'cause Ah's a gamblin' fool, that's what ; a gam- 
blin' fool! (Exit Mustard.) 



THE BATTLE OF ROLLIN' BONES 7 

Henry (going to other two). Make way fo' Henry 
Hahdtack Hogshead ! Ah's a gamblin' fool, an' Ah wants 
action. (Kneels zvith them and is reaching in his pocket 
when ) Watson enters, L. 

Watson. Whah's the sentry on this hyah post? Whah's 
the sentry on this hyah post ? Cawpril of the gyahd ! Caw- 
pril of the gyahd! (Sees crap game, grabs Henry by the 
collar and drags him forward.) 

Henry. Don't pick on me, boss. Ah ain't cawpril of 
the gyahd. Ah ain't nothin' only a low-down buck private. 

Watson. Whah's the sentry on this post? 

Henry. Ah reckon maybe he jes' stepped out fo' lunch, 
boss. 

Watson. Don't you call me boss. You calls me looten- 
ant. That's mah rank ! 

Henry. Rank is right ! 

Watson. What's that you say, niggah? 

Henry. Ah says, hencefo'ward an' from now on, Ah 
calls you lootenant. 

Watson. That's right. 

Henry. All right, boss. 

Watson (turns on him angrily). Whah's yo' hat, nig- 
gah? 

Henry (scratching his head). Mah hat? Oh, a couple 
minutes ago, boss, somebody done heaved a bucket o' T. 
N. T. at me, an' blowed me right out from undah. 

Watson. From undah which ? 

Henry. From undah mah hat. 

Watson. Whah was you hit? 

Henry. Between the duckboard an' the dugout. 

Watson. Boy, git yo'self a hat, an' take you' post. 

Henry. Ah ain't no sentry, boss. 

Watson (fiercely). Who says you ain't? 

Henry. Ah says Ah ain't! 

Watson. An' Ah says you is ! Now what you say ? 

Henry. Boss, Ah ain't nothin' only a low-down buck 
private, but mah experience is that it don't nevah bring no 
good results to argue with a second lootenant. 



8 THE BATTLE OF ROLLIN* BONES 

Watson. Git a hat! 

Henry. Yassuh, lootenant. (Runs clumsily, affecting 
much speed, off L. and gets an overseas cap which is much 
too small. It is attached to thread as was his first hat. He 
re-enters quickly and salutes azvkwardly.) 

Watson. Git a gun ! 

Henry. Yassuh. (Business of clumsy haste, picking up 
Rufus's rifle. He puts it at right-shoulder but holding it 
with left hand, and doing hat salute with right hand.) 

Watson. Take you' post! 

Henry. Yassuh, lootenant. (As he goes toward wall he 
lowers rifle to awkward trail, trips over it, etc.) 

Watson. Now you knows what to do? 

Henry. Yassuh, boss. To observe all the crap games 
within sight an' hearin', an' in case of a second looey or 
othah nuisance on or neah mah post, to give the alahm. 

Watson. Now walk yo' post until relieved! (Exit with 
beaucoup swank.) 

Henry (c/ossing one foot over the other and leaning dis- 
consolately on rifle). Until relieved! Only thing that'll re- 
lieve this hyah niggah will be fo' Gin'ral Pershing to say, 
"Hyah, Henry Hahdtack Hogshead, hyah's yo' ticket fo' 
Mon'gomery, Alabama." (Sits zvearily on wall and lights 
a cigarette. Gun shot off stage and his rifle falls to the 
ground as though shot away. He continues smoking, un- 
disturbed. Another shot and his mess kit falls. He goes 
on smoking contentedly. Bass drum thump off stage, fol- 
lozved by wailing whistle and shot, and his cap flies off. 
He throzvs cigarette angrily off R.) Take it, you dawggone 
Dutchman ! You-all wants it a heap worse'n Ah does ! 
(Takes harmonica from pocket and plays a few notes of 
"Dixie.") 

Enter Missem, L., going to wall and creeping along 
stealthily under its cover. 

Henry. Hey, buddy, got any smokin' ? 
Missem. Who talkin'? 
Henry. Me. The century. Who is you? 
Missem. Ah's a snipah. 



THE BATTLE OF ROLLIN' BONES 9 

Henry. Well, snipah, you-all is sho' outa luck. A 
squarehead snipah ovah yondeh (points off R.) beat you 
to it, and mah snipe now reposeth tranquilly in Nobody's 
Front Yahd. 

Missem (eagerly). Whah he at? Whah he at? (Rests 
rifle on zuall in firing position.) All Ah wants to see is the 
white of his eyeball, an' Ah'll perforate his appendix ! 

Henry. Mah goodness gracious, Mistah Snipeshootah. 
You-all sho' is hahd up fo' a smoke ! You reckon you could 
hit him? 

Missem (boastfully) . Hit him? You-all ax me kin Ah 
hit him? Listen, niggah. Anything Ah aims at an' don't 
hitf it's because it ain't at whah Ah aims at. Hit him? 
Ah'll say Ah kin ! 

Henry (skeptically). Say you kin ain't is you kin. 

Missem. Boy, when Ah talks Ah ain't only talkin'. Ah's 
sayin' a mouthful. (Points off R.) See 'at church steeple 
ovah yondeh? 

Henry (looking). Whah at? 

Missem. 'Bout ten or twelve calamities towahds Berlin. 

Henry. Ah sees it. 

Missem. See the bell way up in the top o' the steeple? 

Henry (looking intently). Whah at? Oh, the one with 
the crack runnin' through it? 

Missem. You said it. 

Henry (shading his eyes). Reckon it ain't been rung 
lately. They's a spideh web onto it. 

Missem (aiming). It's gwine to be rung in a minute. 

Henry (sarcastically). Who says it is? 

Missem. Who says it ain't? 

Henry. Five francs says it ain't. 

Missem. A fool and his money is soon separated. [Aims 
and fires. Bell rings off stage.) Niggah, shake down. 

Henry. Nothin' but luck. Ten francs you cain't do it 
again. 

Missem. Boy, you suttenly is reckless with Uncle Sam's 
money. (Fires and bell rings. Henry mournfully pays 
him.) You calls that luck, does you? 



10 THE BATTLE OF ROLLIN' BONES 

Henry. 'Tain't luck. Nothin' only jest a remahkable 
coincidence. Cain't do it again. 

Missem. Express yo' convictions with the stuff what 
talks. 

Henry. Twenty francs says you is sho' talkin' foolish. 

Missem. Twenty francs is kissin' you goodby. {They 
put money on wall.) 

(Missem aims very deliberately, readjusting sights, etc., 
and Henry becomes impatient. At last Missem fires and 
reaches for the money, but the bell does not ring. Henry 
pushes him away and reaches for the money. As he is put- 
ting it in his pocket, the bell rings. He gives a violent start 
and lets the money fall. Missem picks it up. Henry list- 
lessly hands him a pack of cigarettes.) 

Henry. Snipe-shootah, you wins the snipes! (Henry 
sits mournfully on wall. Missem swaggers to crap game 
and joins it. Henry singing sadly.) 

Oh, the fahmeh in the dell, 
f The fahmeh in the dell. 
Ah told the snipah, an' 
The snipah tolled the bell! 

Enter Watson, L. He goes to wall and walks close to 

Henry. 

Watson (shouting at him). Sentry! 

Henry (listlessly) . Yassuh, lootenant. 

Watson. What kind of a sentry is you, anyhow? Why 
fo' don't you challenge me? 

Henry. 'Gainst regulations to shoot craps with a ofnceh. 

Watson. Listen hyah ! When Ah comes by, you say, 
"Halt, who goes theah ?" Undahstand ? 

Henry. Yes, boss. 

Watson (angrily). What? 

Henry. Ah means lootenant. 

Watson. Now pick up that gun an* watch yo* step. 
(Goes away a fezv paces.) Now, make it snappy! (Starts 
back toward him.) 

Henry. Halt! Who goes theah? 



THE BATTLE OF ROLLIN' BONES 11 

Watson. A friend. 

Henry. You's a dawg-gone Hah ! No second looey ain't 
no friend of mine ! 

Watson (impatiently). Well, what does you say now? 

Henry. If Ah said what Ah's thinking you'd slam me 
in the brig. 

Watson. Don't you remembeh? "Advance, friend, an* 
be reckinized." 

Henry. All right, boss — (Watson turns angrily) Ah 
means lootenant. 

Watson (business of approaching as before). Now, 
make it snappy ! 

Henry. Halt ! Who goes theah ? 

Watson. A friend. 

Henry. Advance, friend, an' let me smell yo' brefr" ! 

Watson (furiously). Listen, hyah, niggah ! If we had 
you in ouah comp'ny, we'd make a soldieh outa you ! 

Henry. Well, lootenant, if we had you in ouah comp'ny, 
Ah reckon we'd make a "Y" seckatary outa you! (Joins 
crap game.) 

(Five heavy thumps on bass drum off stage, in march 
time, thus: "Bang! Bang ! Bang-bang-bang !" Watson fol- 
lows it with break step.) 

Watson (shouting). Com-pan-ee — fall in! 

Missem (to Henry). Niggah, why fo' you-all interdooce 
yo' unwelcome presence? Yo' is broke. 

Henry. Mistah snipe-shootah, ain't got don't signify 
ain't gwine to git. Ah got fifty centimes fo' a nest egg. 
Who got the bones? (Business.) 

Watson (shouting louder). Com-pan-ee — fall in! 

Henry (business). Fifty centimes makes ten francs in 
a hurry. Ah leaves it lay. LiT dominoes, don't you fo'get 
yo' mastah's voice. What you say? All mine! Ah leaves 
it lay. . . 

Watson (shouting still louder). Com-pan-ee — fall in! 

Henry (business). Twenty francs Ah makes it, an' it 
all comes home to roost. Ah's a gamblin' fool from Mon'- 



12 THE BATTLE OF ROLLIN' BONES 

gomery, Alabama, an' Ah's gettin' action! Who say fifty 
francs ? 

(Distant battle effects, continuing from now on. Wat- 
son strides frantically to game and grabs Henry by the 
collar.) 

Henry. Wha's the mattah, boss — Ah means lootenant? 

Watson. Wha's the mattah, you dawg-gone triflin' nig- 
gah? Why, it ain't nothin'. (Sarcastically.) Nothin' a- 
tall, only a raid ! 

Henry. Hush yo' fuss ! Wish't Ah was home. Cops 
don't raid no quiet HT crap games back in Mon'gomery, 
Alabama. 

Watson. Com-pan-ee — fall in! 

(Drum thump off stage, shrill zvailing whistle and explo- 
sion, as flash goes off up stage, directly back of players, ap- 
pearing to have exploded in their midst. Henry, Rufus, 
Higgins and Missem do backward somersaults, pick up 
their guns and then form azvkzvard squad in front of Wat- 
son. This vusiness must go fast.) 

Watson. Com-pan-ee — 'tention ! 

(The follozving business should be as unmilitary and ab- 
surd as possible, no two men doing the same thing at the 
same time, and all showing utter incompetence in the man- 
ual. Other soldiers may be introduced if desired and the 
"drill" may be elaborated at the discretion of the director.) 

Watson. Shouldah — ahms! (Business.) Pree-sent — 
ahms! (Business.) Port — ahms! (Business.) Ordeh — 
ahms! (Business.) Pee-rade — rest! (Business.) Port — 
ahms! (Business.) As you was — ahms! (Business.) 
(Henry drops rifle and stands listlessly, hands in pockets.) 
What's this — a mutiny? 

Henry. Ain't said nothin' 'bout no mutiny, but (angrily) 
Ah ain't gwine to play yo' old game until you-all makes up 
yo' mine what you wants ! 

Enter Flatfoot, L., running. Salutes, hands Watson 
a paper and exits L. 

Watson (looking, at paper). Half the regiment wiped 



THE BATTLE OF ROLLIN' BONES 13 

out ! Henry Hahdtack Hogshead, you is permoted to the 
rank of cawpril ! 

Henry (grinning sheepishly). Hush yo' fuss! 

Enter Dotson, L. He wears a football helmet and car- 
ries an immense telegraph key in his hand. This can be 
made with a cigar box, a strip of heavy tin and a spool. If 
made with a ratchet, so that it clicks loudly, it will be more 
effective. 

Dotson. The enemy is advancin' all along the line ! 
(Puts key on a box or stump, sits on another and does teleg- 
rap h er b itsin ess . ) 

PIenry (to Dotson). Ask 'em if the Mon'gomery local 
is on time. 

Dotson (working key). Mo' casualities in the regiment 
is repohted ! 

Watson (to Henry). Henry Hahdtack Hogshead, you 
is made a sahgent ! 

Henry. Ah's a sahgent, is Ah? Oh, boy, maybe Ah 
ain't hahd-boiled! (Pushes Watson out of his way.) Hey, 
buddy, beat it! Ain't no shave-tails gwine bother me no 
mo'! Ah's a sahgent, an' Ah's hahd-boiled! (To squad.) 
Hey, you niggahs, snap out o' yo' dope ! Shake yo' feet ! 
Ah's a gamblin' sahgent, an' Ah wants action ! Git to yo' 
posts ! (Points to nest. Rufus and Higgins go back of 
screen.) Make some music with that machine-gun an' 
leave me hyah you play the Memphis Blues so it sounds to 
Heinie like Chopin's funeral mahch! (Wheel spins.) 

Dotson (working key). Ouah men is fallin' fast! 

Enter Flatfoot, L., running, hands Watson a paper and 
exits L. 

Watson. Henry Hahdtack Hogshead, yo' is to be con- 
gratulated ! Yo' is commissioned a second lootenant ! 

Henry. Ah's a second looey, sure 'nough? 
(All salute him. He runs to wall and starts up ladder.) 

Watson. Niggah, you gwine git killed plumb dead ! 

Henry (dramatically). Ah's gwine to die a hero's death 
an' wipe out mah disgrace! 



14 THE BATTLE OF ROLLIN' BONES 

{Hoof beats. Henry hears the rattle as he is about to 
leap from wall.) 

Henry. What that rattlin' ? Who gallopin' the dominoes 
without invitin' me ? Hot-dawg, make way f o' Henry Hahd- 
tack Hogshead ! Ah's a gamblin' fool an' Ah wants action ! 
{Rushes from wall, looking for crap game.) 

Enter Flatfoot, L., running, and salutes Watson. 

Flatfoot. The entire battalion is surrounded, suh ! We 
is lost ! {Exit.) 

Mustard enters, L., in time to hear this. 

Henry. Lost? We is a kind of a misplacement bat- 
talion. 

Mustard. Yes, we is lost, unless — unless we kin find a 
volunteer to cross the lines ! Who will volunteer f o' a task 
that means almost certain death? 

Watson {patting Henry's back). This brave niggah is 
yo man, Kuhnel ! 

Mustard. Boy, is you brave? 

Henry. Ain't nevah yit been scared white. {All through 
this scene Henry is very badly frightened and wishing he 
could crawl out of the situation.) 

Mustard. No favoritism will be showed. Lootenant, 
fall in yo' company ! 

Watson. Com-pan-ee — fall in ! — 'Tention! (Rufus and 
Higgins come from back of screen and join other soldiers 
in comedy business complying with command.) 

Mustard. Ah calls fo' volunteers fo' a hazardous mis- 
sion. If you don't want to live to git you' bonus, take three 
paces f o'ward ! 

{All but Henry take three paces back briskly. This 
should be precise and snappy, to contrast with previous in- 
efficiency.) 

Mustard {shaking Henry's hand). Mah boy, if you 

goes out thah — an' nevah comes back — you will be a hero ! 

Henry {mournfully). Boss, if Ah goes out thah — an' 



THE BATTLE OF ROLLIN' BONES IS 

nevah comes back — Ah may be a hero> but Ah'll be likewise 
^* * Enter Flatfoot, L. 

Flatfoot (saluting). Hyah is the papehs, Kunnel. 

Mustard (to Henry). Boy, fix yo'self to go! 

Henry. Boss, cain't you say nothin' about fixin' mah- 
self to come back? (Exit L.) 

Watson. Men, to yo' posts. Take chahge o' the machine- 
gun! (Dotson and Flatfoot go back of screen. Wheel 
spins. ) 

Enter Henry, wearing tin wash basin for helmet. 

Mustard (handing paper to Henry and pointing off R.). 
Git on that hoss an' go through that garage ! 

Henry (looking off). That ain't no hoss. That ain't 
nothin' but a sack o' bones that don't know they's dead ! 

Mustard (sternly). Git on that hoss an' let me hyah 
you rattle! 

Henry. Rattlin' the bones is the best thing which Ah 
does. Watch me roll 'em, boss, an' bet you money on HT 
Joe! (Exit R., running.) Phoebe, giddap ! (Off stage.) 

(All look tensely off R. Flatfoot works hoofbeats back 
of screen, as indicated. Hoofbeats start.) 

Higgins (pointing off R.). Yondeh he goes! % 

Rufus. Yondeh he goes, an' yondeh he stays ! 

Watson. Lookit the way that niggah gallops acrosst No 
Man's Land! 

(Increasing battle effects off stage.) 

Mustard. They's aftah him ! They's gettin' his range ! 
(Hoofbeats stop.) 

Watson. Thah he goes — down a shell hole ! 
(Hoofbeats start.) 

Mustard. He's up again ! He's on his way ! 

Rufus. Watch that hoss switch his tail. Looks like a 
human airiplane ! (4 shot.) 

Higgins. They got him! (Pause.) No, they ain't. Hoss 
got his tail shot off ! 



16 THE BATTLE OF ROLLIN' BONES 

Rufus. Airiplane lost its perpelluh! 

Mustard. Henry, you is savin' yo' glorious flag! 

Rufus. Ah reckons you don't save nothin' else but ! 

(A shot. Hoof beats stop.) 

Mustard. He is down ! We is lost ! 

Watson. He's gettin' up. It's his hoss what's killed. 

Rufus (having "pinched" field glasses from Mustard's 
case). Jerry sho' done bust that hoss from bridle to hame- 
straps ! (Pause.) Oh, look at Henry! He's takin' a hoss 
away from a Dutch gin'ral ! 

(Hoof beats start. Mustard takes glasses from Rufus.) 
Mustard. Yondeh he goes! 
All (a la racetrack). Go o-n, Henry ! Go o-n, Henry! 

Violent battle effects. Flatfoot, pounding cocoanut 
shells on stage, gradually comes in view of audience around 
R. end of screen, as if he is absorbed in watching action 
and has forgotten to remain covered. Henry enters R., 
battle effects stop suddenly, and when Flatfoot sees Henry 
he stops hoofbeats. 

Mustard (to Henry). What is you doin' hyah? 
Henry. Ah come back f o' mah dice ! Ah's gwine to roll 
that Dutch gin'ral f o' his whole dawg-gone ahmy ! 
(Resume battle effects, not too loud.) 

Watson (dramatically). We will make a last, desprit 
stand an' die befo' takin' ouah boots off! (Goes back of 
"machine-gun nest," followed by all but Henry and Mus- 
tard. Wheel spins.) 

Mustard. Henry, you is a hero. What would you like 
fo' me to tell General Pershing? 

Henry. Well, boss, Ah's gettin' plumb tired of bein' a 
second lootenant. 

Mustard. Would you like f o' to be permoted ? 

Henry. Yessuh, boss, Ah reckon Ah would. 

Mustard. What rank would you like to have? 

Henry. Well, boss, if Ah gets my choice — 

Mustard. You suttenly does. 



THE BATTLE OF ROLLIN' BONES 17 

Henry. Ah reckon Ah'll be a buck private ! 

(Drum thump, whistle and very loud bang. Machine-gun 
screen falls forward flat on the stage, revealing Flatfoot 
operating the paddle wheel and lively gambling going on in 
front of it. Crap game also in progress. All are very noisy 
and enthusiastic. Mustard looks fiercely at game. Henry 
looks timorously at Mustard. Brief tableau. Henry takes 
dice from his pocket and shakes them lovingly.) 

Mustard (to Henry). Boy, gimme them dice ! (Henry 
hands them to him, sorrowfully. Mustard suddenly pidls 
out large wads of money from under his uniform and slams 
them down on the stage.) Hot-dawg, Henry! Let's go! 

(Mustard and Henry kneel, down C, and Henry gets 
out a single bill as Mustard rolls the dice. Battle effects, 
very loud. Music fast and forte, popular ragtime.) 

Quick Curtain. 



Denison's Black-Face Series 

The Cream of Darky Humor 
Price, 15 Cents Each, Postpaid 

AXIN' HER FATHER. — Negro farce, by O. E. Young; 2 males, 3 
females. Time, 25 minutes. Old Peppercorn, very deaf, has three 
daughters. Augustus, Priscilla's suitor, attempts to ask the old man 
for permission to marry her. Peppercorn, failing to understand him, 
and thinking he is insulted, begins the fun. 

THE BOOSTER CLUB OF BLACKVILLE.— A colored comedy 
concoction, by Harry L. Newton; 10 males. Time, 25 minutes. A 
political burlesque with the funniest negro cast of characters 
imaginable. It is particularly suitable for a minstrel afterpiece. 

A COLORED HONEYMOON.— Minstrel afterpiece, by Harry L. 
Newton; 2 males, 2 females. Time, 25 minutes. A blissful moment 
of home-making ruthlessly upset by an unromantic janitor and an 
inquisitive landlady. 

COON CREEK COURTS H IP.— Negro sketch, by O. E. Young; 
1 male, 1 female. Time, 15 minutes. The stumbling, ludicrous 
attempts of bashful Johnnie Overalls in asking Sallie Grindstone to 
become his wife and the ridiculous coaching of the persistent 
darky maiden will cause no end of merriment. 

THE COONTOWN THIRTEEN CLUB.— Minstrel afterpiece, by 
Harry L. Newton; 14 males. Time, 25 minutes. Thirteen aristo- 
crats of Coontown have formed themselves into a suicide club. One 
member must commit suicide at every annual club banquet. This is 
the first banquet and the first victim is chosen; however, the 
method he selects for his farewell departure is far more ludicrous 
than destructive. 

THE DARKT^WN FIRE BRIGADE.— Minstrel afterpiece, by 
Harry L. Newton; 10 males. Time, 25 minutes. A church fire and 
an alarm from a millinery store neither awake enthusiasm nor get 
aid from the dusky heroes, but there is a mad rush when a blaze in 
a brewery is reported. A red-hot bit of African burlesque. 

GOOD MORN IN' JUDGE. — Minstrel afterpiece, by Harry L. New- 
ton; 9 males, 2 females. Time, 35 minutes. Scene: A police court. 
A ludicrous dispensation of justice, perhaps lacking in jurisprudence, 
yet of a brand that will hit an audience. Lily White, who wants a 
divorce because she is married, is a scream. 

HUNGRY! — Comedy a la mode, by Harry L. Newton; 2 males. 
Time, 15 minutes. A hungry darky meets a friend with a big basket 
of "eats." Instead of having his appetite satiated with food he 
has it stimulated with elaborate descriptions of fried chicken and 
tales of hunting the wild doughnut in its native jungle. 

OH, DOCTOR! — Minstrel afterpiece, by Harry L. Newton; 6 
males, 2 females. Time, 30 minutes. Two lively servants, during 
the absence of Dr. Quack, treat his patients. The fun comes fast 
and furious. This sketch is a slap-stick classic. 

STICK TO YOUR WORD GAL.— Negro farce, by O. E. Young; 4 
males, 1 female. Time, 30 minutes. This piece is full of rollicking 
humor, odd situations and just the thing for a "wind up" to send 
everyone home happy. 

TROUBLED BY GHOSTS. — Negro farce; by Larry Vane; 4 males. 
Time, 10 minutes. Full of action and very funny. May play white. 

WHAT HAPPENED TO HANNAH.— Minstrel afterpiece by Harrv 
L. Newton; 1 male, 1 female. Time, 15 minutes. Hannah cuts off 
her hair and sells it to buy a watch chain, an anniversary present, 
for her husband, while he pawns his watch to buy her a pair of 
side- combs. Unique nigger humor. 

T. S. DENISON & COMPANY, 154 W. Randolph St., Chicago 



Denison's Vaudeville Sketches 

"A laugh is worth a hundred groans in any market." 
Price, 25 Cents Each, Postpaid 

THE GODDESS OF LOVE.— Vaudeville sketch, by Harry L. 
Newton; 1 male, 1 female. Time, 15 minutes. Scene: Simple ex- 
terior. Aphrodite, a Greek Goddess, is a statue in the park Ac- 
cording to tradition, a gold ring placed upon her finger will bring 
her to life. Knott Jones, a tramp, who had slept in the park 
all night, brings her to life. A rare combination of the beautiful 
and the best of comedy. Novel, easy to produce and a great hit. 

HER HERO.— Vaudeville sketch, by George Totten Smith; 1 male, 
1 female. Time, 20 minutes. To test her lover's courage, a young 
lady pretends she hears a burglar in an adjoining room and in- 
sists that he shall investigate. He meets with a surprise which 
is far from what the jesting maiden had anticipated. Rich com- 
edy and rapid action. 

"Used 'Her Hero' with great success for six successive weeks." 
— Herman Nelms, Nashville, Tenn. 

A HOME RUN. — Vaudeville sketch, by Harry W. Osborne; 
1 male, 1 female. Time, 15 minutes. A bit of baseball non- 
sense introduced into a novel situation. "Inshoots" of wit, 
"out-curves" of mirth and "drop-balls" of hilarity are put over 
the "plate" in rapid succession. 

HOT AIR. — Vaudeville sketch, by George Totten Smith; 2 
males, 1 female. Time, 25 minutes. Briggs and his chum after 
a night out. Brigg's wife after an explanation. She finds their 
lovely "fairy tale" simply "hot air" and they find themselves in 
"hot water." Their ingenuity in extricating themselves from 
the humid situation is most amusing. 

IS IT RAINING?— Vaudeville sketch, by Harry L. Newton 
and A. S. Hoffman; 1 male, 1 female. Time, 10 minutes. Otto 
Swimorebeer, a German, Susan Fairweather, a friend of his. This 
act runs riot with fun, gags, absurdities and comical lines. 

"I have had expensive sketches, but your's beat them all." — 
Gust Muech, Milwaukee, Wis. 

A MISTAKEN M I SS.— Vaudeville sketch, by George Totten 
Smith; 1 male, 1 female. Time, 20 minutes. The maiden expect j 
to meet a very sedate young man, which part he impersonates, 
although he is quite the opposite. He also makes up as an Irish- 
man. However, the mistake was not amiss for the mistaken 
miss, as he proves to be her willing ideal. Strong plot, plenty 
of "laughs" with opportunity for good acting. 

MR. AND MRS. FIDO. — Vaudeville sketch, by Harry L. Newton; 
1 male, 1 female. Time, 20 minutes. Mrs. Fido's husband and 
her dog Bruno are sick. Johnson, a dog doctor, who is just over 
from Sweden, is mistaken for Mr. Fido's physician, and com- 
plications arise that create more disturbance than a mustard plas- 
ter on a small boy. A great Swede part. 

"We are now playing 'Mr. and Mrs. Fido' to crowded houses. 
Big hit." — The Elliotts, Clay Center, Kan. 

ONE SWEETHEART FOR TWO.— Vaudeville sketch, by Harry 
L. Newton; 2 females. Time, 20 minutes. It is not recorded in 
the book of Time when one sweetheart was sufficient for two 
ambitious maidens. The dialogue and action in this sketch are as 
magnetic as the breeze from an electric fan. 

T. S. DENISOIV & COMPANY. 154 W* Randolph St.. Chicago 



Denison's Vaudeville Sketches 

" A laugh is worth a hundred groans in any market.** 
Price, 25 Cents Each, Postpaid 

BREAKFAST FOOD FOR TWO.— Vaudeville sketch, by Harry 
L. Newton; 1 male, 1 female. Time, 20 minutes. Scene: Simple 
interior. Seldom Sells, a drummer for bottled spring water and 
condensed milk, and Carrie Samples, a breakfast food demonstra- 
tor, meet in a small freight office during a snow blockade. Once 
they were friends, but strangers now; however, while appeasing 
their hunger with their samples a reconciliation is affected. This 
sketch is a decided novelty and one of the most choice morsels of 
humor ever served. 

THE CABMAN AND THE LADY.— Vaudeville sketch, adapted by 
William D. Emerson; 2 males, 1 female. Time, 30 minutes. Played 
a number of seasons with great success by "Emerson, Caffray and 
Emerson." It is a scream. 

A COLD FINISH. — Vaudeville sketch, by Harry L. Newton; 2 
males, 1 female. Time, 15 minutes.- Scene: An interior. A 
cheeky life insurance agent forces himself into the home of a 
wealthy lady. Her attempt to get rid of him is side splitting. It 
has an unexpected finish which is always a great hit in vaude- 
ville. Really a two-part sketch, as the iceman has only a few 
lines. 

THE COUNTERFEIT BILLS.— Vaudeville sketch, by Harry L. 
Newton; 1 male, 1 female. Time, 20 minutes. A long lost sailor 
returns and in explaining his absence to his wife, finds he has 
steered into rough weather. As a peace-offering he gives her a 
large "roll ofVbills" and she admits having a second husband 
named Bill; however both prove counterfeit. There is a dash of 
wit and a foam of humor in the Old Salt's tale of adventures 
that cannot fail to delight. 

DOINGS OF A DUDE.— -Vaudeville sketch, by Harry L. Newton; 
2 males, 1 female. Time, 20 minutes. Scene: Simple interior. 
Maizy von Billion, of athletic tendencies, is expecting a boxing 
instructor and has procured Bloody Mike, a prize fighter, to "try 
him out." Percy Montmorency, her sister's ping pong teacher, is 
mistaken for the boxing instructor and has a "trying out" that 
is a surprise. A whirlwind of fun and action. 

FRESH TIMOTHY HAY.— Vaudeville sketch, by Harry L. New- 
ton; 2 males, 1 female. Time, 20 minutes. Scene: Simple rural 
exterior. By terms of a will, Rose Lark must marry Reed Bird or 
forfeit a legacy. Rose and Reed have never met and when he 
arrives Timothy Hay, a fresh farm hand, mistakes him for Pink 
Eye Pete, a notorious thief. Ludicrous lines and rapid action. 
Chance for songs and specialties if desired. 

"We presented 'Fresh Timothy Hay' with great success." — 
Frank S. Wildt, Lancaster, Pa. 

GLICKMAN, THE GLAZIER.— Vaudeville sketch, by Harry L. 
Newton and A. S. Hoffman; 1 male, 1 female. Time, 25 minutes. 
Scene: Simple interior. Charlotte Russe, an actress, is scored 
by a dramatic paper. With "blood in her eye" she seeks the 
critic at the office, finds no one in and smashes a window. Jacob 
GMckman, a Hebrew glazier, rushes in and is mistaken for the 
critic. Fun, jokes, gags and action follow with lightning rapidity. 
A great Jew part. 

"Under the team name of Herbert and Elliott we are making a 
big hit with 'Glickman, the Glazier.' Tour 'stuff' is the best ever." 
— C. W. Herbert, Spokane, Wash. 

T. S. DENISON & COMPANY, 154 W.Randolph St.. Chicago 



DENISON'S ACTING PLAYS 

Partial List of Successful and Popular Plays. Large Catalogue Free 



FARCES, COMEDIETAS, Etc. 
Price 25 Cents Each 

M. F. 

All on a Summer's Day, 40 min. 4 6 
Aunt Harriet's Night Out, 35 

min 1 2 

Aunt Matilda's Birthday Party, 

35 min 11 

Billy's Chorus Girl, 30 min... 2 3 
Borrowed Luncheon, 20 min.. 5 
Borrowing Trouble, 20 min.... 3 5 
Case Against Casey, 40 min... 23 

Class Ship, 35 min 3 8 

Divided Attentions, 35 min... 1 4 
Fun in Photo Gallery, 30 min.. 6 10 
Getting Rid of Father, 20 min. 3 1 

Goose Creek Line, 1 hr 3 10 

Great Pumpkin Case, 35 min.. 12 
Hans Von Smash, 30 min.... 4 3 

Honest Peggy, 25 min 8 

Irish Linen Peddler, 40 min... 3 3 
Just Like a Woman, 35 min... 3 3 

Last Rehearsal, 25 min 2 3 

Men Not Wanted, 30 min 8 

Mother Goose's Goslings, 30 m. 7 9 
Mrs. Jenkins' Brilliant Idea, 35m. 8 
Mrs. Stubbins' Book Agent, 30 m. 3 2 
Not a Man in the Flouse, 40 m. 5 

Paper Wedding, 30 min 1 5 

Pat's Matrimonial Venture, 25 

min 1 2 

Patsy O'Wang, 35 min 4 3 

Rummage Sale, 50 min 4 10 

Sewing for the Heathen, 40 

min 9 

Shadows, 35 min 3 4 

Sing a Song of Seniors, 30 min. 7 
Taking Father's Place, 30 min. 5 3 
Teacher Kin I Go Home, 35 

min 7 3 

Too Much of a Good Thing, 45 

min. . ; 3 6 

Two Ghosts in White, 20 min . . .8 

Two of a Kind, 40 min 2 3 

Uncle Dick's Mistake. 20 min.. 3 2 
Wanted: a Correspondent, 45 m. 4 4 
Watch, a Wallet, and a Jack of 

Spades. 40 min 3 6 

Whole Truth. 40 min 5 4 

Who's the Boss? 30 min 3 6 

Wide Enough for Two, 45 min. 5 2 
Wrong Baby, 25 min.. 8 

FARCES, COMEDIETAS, Etc. 
Price IS Cents Each 

April Fools, 30 min 3 

Assessor, The, 15 min 3 2 

Baby Show at Pineville, 20 min. 19 
Before the Play Begins, 15 

min 2 1 

Billy's Mishaps, 20 min 2 3 

Country Justice, 15 min 8 

Cow that Kicked Chicago, 25 m. 3 2 

Familv Strike, 20 min 3 3 

First-Class Hotel, 20 min 4 

For Love and Honor, 20 min.. 2 1 
Fudge and a Burglar, 15 min.. 5" 



M. F. 

Great Medical Dispensary, 30 m. 6 
Initiating a Granger, 25 min.. 8 

Kansas Immigrants, 20 min... 5 1 

Lottie Sees It Through, 35 min. 3 4 

Pair of Lunatics, 20 min 1 1 

Pat, the Apothecary, 35 min.. 6 2 

Please Pass the Cream, 20 min. 1 1 

Second Childhood, 15 min 2 2 

Smith's Unlucky Day, 20 min.. 1 1 

That Rascal Pat, 30 min 3 2 

Two Aunts and a Photo, 20 m. 4 
Two Gentlemen in a Fix, 15 m. 2 

Wanted: A Hero, 20 min 1 1 

VAUDEVILLE SKETCHES 
Price 25 Cents Each 

Amateur, 15 min 1 l 

At Harmony Junction, 20 min. 4 
Breakfast Food for Two, 20 m. 1 1 

Cold Finish, 15 min 2 1 

Coming Champion, 20 min 2 

Fresh Timothy Hay, 20 min.. 2 1 

Her Hero, 20 min 1 1 

Hey, Rube! 15 min 1 

It Might Happen, 20 min 1 1 

Little Miss Enemy, 15 min.... 1 1 
Little Red School -House, 20 m. 4 
Marriage and After, 10 min.. 1 
One Sweetheart for Two, 20 m. 2 

Oyster Stew, 10 min 2 

Pete Yansen's Curl's Moder, 10m. 1 
Quick Lunch Cabaret, 20 min.. 4 

Si and T, 15 min 1 

Special Sale, 15 min 2 

Street Faker, 15 min 3, 

Such Ignorance, 15 min 2* 

Sunny Son of Italy, 15 min.. 1 

Time Table, 20 min. 1 1 

Tramp and the Actress, 20 min. 1 1 
Troubles of Rozinski, 15 min.. 1 
Two Jay Detectives, 15 min.. 3 
Umbrella Mender, 15 min.... 2 
Vait a Minute 2 

BLACK-FACE PLAYS 
Price 15 Cents Each 

Axin' Her Father, 25 min 2 3 

Booster Club of Blackville, 25 

min 10 

Colored Honeymoon, 25 min... 2 2 

Coon Creek Courtship, 15 m 1 1 

Coontown Thirteen Club, 25 m. 14 
Darktown Fire Brigade, 25m.. 10 
Good Mornin' Judcre, 35 min.. 9 2 

Hungry, 15 min 2 

Love and Lather, 35 min 3 2 

Memphis Mose, 25 min 5 1 

Oh, Doctor! 30 min 6 2 

Troubled by Ghosts, 10 min... 4 
What Happened to Hannah, 15 

min 1 1 

A great number of 

Standard and Amateur Plays 

not found here are listed in 

Denison's Catalogue 



T. S. DEN LSON& COM PAN Y, Publishers, 154 W. Randolph St. .Chicago 



POPULAR ENTERTJ 

Illustrated Pap 




IN this Series 
are found 
books touching 
every feature 
in the enter- 
tainment field. 
Finely made, 
good paper, 
clear print and 
each book has 
an attrac t i v e 
individual cov- 
er design. 



A Partial List 

DIALOGUES 

All Sorts of Dialogues. 

Selected, fine for older pupils. 
Catchy Comic Dialogues. 

Very dever; for young people. 
Children's Comic Dialogues. 

From six to eleven years of age. 
Country School Dialogues. 

Brand new, original. 
Dialogues for District Schools. 

For country schools. 
Dialogues from Dickens. 

Thirteen selections. 
Friday Afternoon Dialogues. 

Over 60,000 copies sold. 
From Tots to Teens. 

Dialogues and recitations. 
Humorous Homespun Dialogues. 

For older ones. 
Little People's Plays. 

From 7 to 13 years of age. 
Lively Dialogues. 

For all ages; mostly humorous. 
Merry Little Dialogues. 

Thirty-eight original selections. 
When the Lessons are Over. 

Dialogues, drills, plays. 
Wide Awake Dialogues. 

Original successful. 

SPEAKERS, MONOLOGUES 

Choice Pieces for Little People. 

A child's speaker. 
Th \ Comic Entertainer. 

Recitations, monologues, dialogues. 
Dialect Readings. 

Irish, Dutch, Negro, Scotch, etc. 
The Favorite Speaker. 

Choice prose and poetry. 
The Friday Afternoon Speaker. 

For pupils of all ages. 
Humorous Monologues. 

Particularly for ladies. 
Monologues for Young Folks. 

Clever, humorous, original. 



I IBRARY OF CONGRESS 

3HHMT 

015 938J570 3 




Monologues Grave and Gay. 

Dramatic and humorous. 
Scrap- Book Recitations. 

Choice collections, pathetic, hu- 
morous, descriptive, prose, 
poetry. 15 Nos. 

DRILLS 

The Best Drill Book. 

Very popular drills and marches. 
The Favorite Book of Drills. 

Drills that sparkle with originality. 
Little Plays With Drills. 

For children from 6 to 11 years. 
The Surprise Drill Book. 

Fresh, novel, drills and marches. 

SPECIALTIES 

The Boys' Entertainer. 

Monologues, dialogues, drills. 
Children's Party Book. 

Invitations, decorations, games. 
The Christmas Entertainer. 

Novel and diversified. 
The Days We Celebrate. 

Entertainments for all the holidays. 
Good Things for Christmas. 

Recitations, dialogues, drills. 
Good Things for Sunday Schools. 

Dialogues, exercises, recitations. 
Good Things for Thanksgiving. 

A gem of a book. 
Good Things for Washington 

and Lincoln Birthdays. 
Little Folks' Budget. 

Easy pieces to speak, songs. 
One Hundred Entertainments. 

New parlor diversions, socials. 
Patriotic Celebrations. 

Great variety of material. 
Pictured Readings and Tableaux. 

Entirely original features. 
Pranks and Pastimes. 

Parlor games for children. 
Shadow Pictures, Pantomimes, 

Charades, and how to prepare. 
Tableaux and Scenic Readings. 

New and novel; for all ages. 
Twinkling Fingers and Sway- 
ing Figures. For little tots. 
Yuletlde Entertainments. 

A choice Christmas collection. 

MINSTRELS, JOKES 

The Black-Face Joker. 

Minstrels' and end men's gags. 
A Bundle of Burnt Cork Comedy. 

Monologues, stump speeches, etc. 
Laughland.via the Ha-Ha Route. 

A merry trip for fun tourists. 
Negro Minstrels. 

All about the business. 
The New Jolly Jester. 

Funny stories, jokes, ga gs, etc. 

Large Illustrated Catalogue Free 



T.S.DENISON & COMPANY, Publishers, 154 W.Randolph St., Chicago 



